O PLAYS £XCHANGCD. 



PS 3531 
.P6183 
B7 

1910 
Copy 1 



'CHER'S CDITI0N' 
or PL7\Y3 

breaIingThe 
engagement 

Price, 15 Cents 




a» W. ^Intro's Pa?0 

Incite, 50 €ent^ €atl^ 



THF AMA7nNS ^^^^c© "* T^^^® -^^ts. seven males, liveiemaies. 
lUi A111AI4 Costumes, modem ; scenery, not diffictilt. Plays 

a full eveningo 

THE CABINET MINISTER £^^^^rt^tm:"e™t:™ 

Bceneiyj, three interiors. Plays a full evening. 

DANDY DICK ^*^*'® ^ Three Acts. Seven males, four temaies. 
Costumes, modem j scenery, two interiors. T>layf 
two hours and a half. 

THE GAY LORD ODEX Comedy in Four Acts. t'oUrttialeg ten 
^ females. Costumes, modem ; scenery, 

two interiors and an exterior. Plays a full evening. 

HIS HOGSF IN ORDFR CJomedy in Four Acts. Nine males, fon^- 

females. Costumes, modern ; scenery*, 
three iptenors. Plays a full evening. 

THE ROESY HOR^ comedy in Three ActSc Ten males, five 
^^ females. Costumes, modern: scenery easy. 

Plays t-w.i Liours and a half. 

IRIS ' ''°*"^* i"* Five Acts. Seven males, seven females. Costumes, 
modem ; scenery, three interiors. Plays a full evening. 

LADY BOUNTIFUL ^^^^ ^^ ^^^ '^'^^^' -^^^^^ males, seven fe- 
males. Costumes, modern ; scenery, four in- 
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I FTTY ^'^^^^ *^ Four Acts and an Epilogue. Teh males, five fe- 
^ males. Costumes, modem ; scenery complicated. Plays a 

full eveningo 



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No. 5 Hamilton Place, Boston, Massachusetts 



Breaking the Engagement 



A Farce in One Act 



By 
W. C. PARKER 

Author of'' William" etc. 



BOSTON 

WALTER H. BAKER & CO. 

1910 



P5353I 



Breaking the Engagement 



^ I o 



CHARACTERS 



John Fielding. 
Bessie Smith. 
BiNKS, a bell boy. 




Copyright, 1910, by Walter H. Baker & Co. 



€CI.D 21042 



Breaking the Engagement 



SCENE. — A hotel parlor. Door^ r. c. ; window ^ l. c. ; tables 
c. ; easy chairs^ sofa^ etc.^ to dress stage. Call-bell^ pen^ 
ink and note paper and envelopes o?i table. 

Enter Bessie Smith, door r. c. 

Bess, (opening a letter j reads'). "My dear Niece: — You 
are well aware of my desire that you shall marry my old friend, 
John Fielding. Upon consulting the calendar, I am reminded 
that, although you have been engaged for one year, yet you 
have never met. Fortunately, I find that he has returned from 
the West at this opportune moment, and have consequently 
arranged a meeting, at the hotel to which I have summoned 
you, for three p. m. to-day. I have chosen the hotel parlor in 
preference to my own home, as an old fellow like me would 
only be in the way. Remember, that once you are married to 
John Fielding, bachelor, I will celebrate the occasion by pre- 
senting one-half of ^f fortune to the happy pair." (Spoken.) 
** Happy pair," indeed ! To think that I must tie myself up to 
an old "bachelor," or be left to my own resources! (Sits; 
reads.) " I fear that John has sowed considerable * wild oats ' 
in his time, but let your marriage to him blot out the past." 
(Spoken.) I am also expected to degenerate into a ^'blotter." 
Well ! If this isn't the limit ! Here I am, with the finest rich 
old uncle in the world, and now he must spoil everything by 
conjuring up an insane idea of marrying me off to this old fool, 
just because he happens to be a "friend" ! I just won't do 
it ! That's all ! And yet, no marriage — no fortune. Let's 
see. Isn't there some other way out of this ? (Ibises and 
paces the floor.) Ah ! Supposing the old fool should refuse 
to have me. Uncle couldn't blame me / I couldn't be ex- 
pected to compel the man to marry me. Very well. I shall 
be here at three p. m., but I shall make myself appear so old 



4 BREAKING THE ENGAGEMENT 

and so ugly and so disagreeable that this gay old '^ bachelor " 
will be only too glad to break the engagement ! (^Auto horn 
heard outside. Goes to window.') Mercy ! There is the fel- 
low who flirted with me at the ball last night ! I wonder what 
brings him here ? 

Enter John Fielding, door r. c. 

John. Wheough ! Dinner over, and I'm so hungry, I 

could eat {Observes ^^ss,.) Hello! ^T\s she / {Bows 

to Bess.) Will you pardon me, if — — 

Bess. Sir ! You have the advantage of me ! 

John. I know that I must seem rather obtrusive, but have 
you so soon forgotten the yacht club ball ? 

Bess. Sir ! I have forgotten nothing ! 

\_Exit, proudly y door r. c. 

John. Wow ! There's a haughty female for you ! But 
she cannot deny that she flirted with me at the ball. Neither 
can I deny that I fell desperately in love with her at first sight. 
Well, if she won't hear my declaration, there is nothing for me 
to do but write it. {Sits at table and writes.) ^' My dear 

Miss " Miss what? That won't do. I don't know her 

name. {Crjimples up paper and throws it on floor. Writes.) 

" Dear Friend " No. That's altogether too presumptuous. 

( Crumples up paper and throws it on floor.) I guess I'll omit 
the heading. ( Writes and reads.) " Since you will not listen 
to me, I am compelled to adopt this means to communicate 
with you. I am desperately in love with you. My intentions 
are strictly honorable. Will you make me the happiest man 
on earth, by sharing my humble lot?" Signed. "You 
Know Who." 

{Folds and places in envelope. Rings table-bell.^ 
Enter Binks, door R. C. 

Binks. Call, sir? 

John. Here, boy. What's your name ? 

Binks. Binks, sir. 

John. Well, Binks, here's a quarter. {Hands money.) 

Did you perceive a young lady leaving this room a short time 
ago? 

Binks. Yes, sir. She went up-stairs. ' 



BREAKING THE ENGAGEMENT 5 

John. Very well, Blinks. Here's a quarter (//f?;^^///^w^;/^^), 
and take this note to her as quickly as you can. [Hands 
note.) And, by the way, Kinks, here's a quarter. \Hands 
money. ^ Now, hurry ! 

BiNKS. Thank you, sir. {Bows ajid exit, door r. c.) 

John. Now, if she's got any sporting blood at all, that 
ought to fetch an answer. [Enter Binks, door r. c. John, 
eagerly.^ Did you find her? 

Binks. Yes, sir. Here's an answer. An' here's a letter 
left at the office. {Hands letters.^ 

John. Very well, Winks, that is all. {QmYiS going.) By 
the way, Jinks, here's a quarter. {Hands moiiey.') 

Binks. Thank you, sir. {Bows and exit, door r. c.) 

John {opening note, reads). **Mr. 'You Know Who': — 
Your note received, asking me to share your 'humble lot.' I 
dislike the idea of camping out. Hustle around and get a 
comfortable house on the 'lot,* and I'll see what I can do in 
the way of boosting your happiness." {Spoken.) Ha, ha, ha ! 
By Jove ! She's a humorist ! She's all right ! I must get the 
landlord to give us a formal introduction, and the rest will be 
easy. {Notices other letter.) This must be from Smith. Prob- 
ably been delayed. {Opens letter ; reads.) " Friend John : — 
In writing you to meet me to-day, I resorted to a pardonable de- 
ception, which I do not doubt you will freely excuse when you 
ascertain my motive. You are well aware of my desire that 
you shall marry my niece, whom, unfortunately, you have 
never met. I am getting along in years and want to see this 
match consummated before anything happens to me. Conse- 
quently, I have arranged for her to meet you in the hotel parlor 
to-day at three p. m., and have also conveyed the information 
that my sanction of your marriage to Bessie Smith, spinster, 
will include a gift of one-half of my fortune. So make your- 
self agreeable, my boy, and my best wishes go with you." 
{Spoken.) One-half his fortune? Wheough ! And he's a 
millionaire ! This is a deuced awkward predicament. Here 
I've just fallen head over heels in love with a fair unknown, 
and now my only benefactor insists that I shall marry "Bessie 
Smith, spinster." That word " spinster " doesn't appeal to me. 
It suggests false teeth, and switches, and braids, and gingham 
aprons, and — I supposed he had forgotten all about this ab- 
surd engagement. Now, the question is how to break the 
engagement, without offending the old man. The only way I 
can see is to make her refuse to have me. Ah ! I have it ! 



6 BREAKING THE ENGAGEMENT 

Me to a costumer's and a wig and whiskers for mine ! {Looks 
at watch.) By Jove ! It is now ten minutes of three ! I must 
hurry ! {Rings bell.) Heh ! Dinks ! 

Enter Binks, door r. c. 

BiNKS. Call, sir? 

John. See here, Hinks. My name is John Fielding. A 
lady is to meet me here at three p. m. When she comes, tell 
her I've been delayed and ask her to kindly wait for me. 
See? 

Binks. Yes, sir. 

John. And, by the way, Jinks, here's a quarter. 

{Hands money and exit^ hastily y door R. c.) 

Binks. Between you an* me an' de gate post, I think that 
feller's a little off, but 'tain't none of my funeral, so long as he 
keeps comin' across with the quarters. {Enter Bess., door 
R. c. , and sits on sofa. She has arranged her hair in an old- 
fashioned manner, powdered her face profusely, and wears 
an old bonnet, a faded shawl and old black skirt. She has 
also painted a 7mm ber of her teeth black to make her appear 
nearly toothless.) Excuse me, ma'am, but are you to meet a 
man named John Fielding ? 

Bess. Yes. 

Binks. Well, he has been delayed and wants you to wait 
for him. [Exit, door r. c, laughing at Bess.'s appearance. 

Bess, {to Binks). Very well. {Alone.') This is certainly 
disgusting. I suppose the old fool is so certain of his conquest, 
that he doesn't even feel obliged to keep his appointment 
promptly. Very well. Perhaps he won't be so cock sure at 
the conclusion of our little interview. {Crosses to left of table 
afid sits in armchair.) I'll make him hate the very sight of 
me. 

Enter John, door r. c. 

John {wearing bald gray wig and long whiskers, old- 
fashioned coat and slouch hat. Imitates the speech of an old 
77ian). Are you Miss Smith? 

Bess, {imitating speech of an old 7naid). Yes. I reckon I 
am. {Aside.) VVorse than I expected. Uncle certainly had 
a nerve to expect me to marry an old fool like him. 



BREAKING THE ENGAGEMENT 7 

John {aside). No use. Money couldn't influence me to 
marry a freak like her. She looks like a dramatization of '* Old 
Dutch Cleanser." (^To Bess.) Ahem ! 

Bess. Ahem ! {Aside.) Now for the fireworks. 

John. I suppose you are aware of the meaning of this— er 
— interview ? 

Bess. Yes. Fully aware, but I want you to distinctly un- 
derstand that I ain't a-goin' to give up my tabby cat, nor my 
parrot, nor my pet pig. Where I go, they goes. By the way, 
am't you pretty old to marry? {Giggies.) Te-he-he ! 

John. . Oh, I don't know. {Aside.) Age doesn't always 
bring wisdom. 

Bess. I must also warn you that I'm a Suffragette. 

John (aside). That's pleasant. 

Bess. I'm in favor of enlarging the sphere of women. 

John. Can't be done. 

Bess, Why not ? 

John. Because there's no way the earth can be stretched. 

Bess. Oh, well ! Things are not always what their names 
would imply. 

John. That's right. A poker chip, for instance, isn't 
necessarily a chip off a poker. 

Bess. I hope you don't play cards. 

John. Well, I'll have to admit that fault. 

Bess. Well, you'll just have to stop it. Do you smoke? 

John. Of course I do. I generally go to sleep with a cigar 
in my mouth. 

Bess. Well, if you marry me, you'll have to give up smok- 
ing. Will you do it for my sake? 

John. Yes. If I marry you, I'll give up smoking for your 

sake. (Aside.) Thereafter, I'll smoke exclusively for my own 

sake. 

Bess. It would hurt my feelings, if you deceived me. You 
know women feel where men think. 

John (aside). That must be why most married men are 
bald. 

Bess. And, even so, women do just as much thinking as 
men. 

John. Possibly. (Aside.) But they spoil their thoughts 
by diluting them with words. 

Bess. Why, I write a magazine article every week, even if 
they never are accepted. 

John. You should write something on vaccination. 



8 BREAKING THE ENGAGEMENT 

Bess. Vaccination ? 

John. Yes. It might take. 

liESS. Just the same tlie *' pen is mightier tlian llic sword." 

John. Of course it is. We could hardly expect your uncle 
to sign a check with a sword. 

Bess, (aside). Now, I'll sicken him. (To John.) Don't 
you think I would be quite affectionate? 

John. Well, I notice you were careful to take a chair with 
arms to it. 

Bess, (giggling). Te-he ! Te-he ! I was just thinking of 
the old-time sociables, when the ladies used to flirt with their 
fans, and 

John. Flirt with their fans? What was the matter? 
Weren't there any men around ? 

Bess. I was engaged once before. 

John (aside). Long, long ago. (71; Bess.) Why did you 
break your engagement ? 

Bess. I asked him to guess my age, and he did. (Aside.) 
That ought to settle him. 

John (laughing). Ha, ha, ha, ha ! Poor fellow ! And 
what did he say to that? 

Bess. Oh, he went off and committed suicide. Say ! Do 
you believe that suicide is a sin ? 

John. That depends. (Aside.) It was certainly justifiable 
in her case. 

Bess. Te-he ! Te-he ! Do you really love me an awful 
lot? 

John (confused). Oh, yes. Of course. 

Bess. Do you love me enough to die for me? 

John. Well hardly. My love is of the " undying" kind. 

Bess. Do you know, I sometimes think you wish our en- 
gagement had never been made ? 

John (aside). She's a good guesser, all right. 

Bess. Perhaps you would like to break it ? 

John (hesitatingly). Well — now that you mention it — that 
is — if you didn't object 

Bess. I must confess I am not at all anxious to sacrifice my 
freedom. 

John. Very well — since you insist 

Bess. But my uncle — his money ? 

John. Yes. There's the " rub." 

Bess. Then it's the money you're after? 

John. You must admit the necessity for some incentive. 



BREAKING THE ENGAGEMENT g 

Bess. Just like a man — and rather humiliating to me — but 
— since it's only the money you are after, 1 think I can see a 
way out of it. 

John {eagerly). How? 

Bess. Uncle insists that we must marry to get his fortune, 
but he says nothing about our living together. 

John. By Jove ! That's so! 

Bess. If we should divide the money, there would still be 
enough for each. 

John. You certainly are a wonder ! 

Bess. You could abandon me, for instance. 

John. And you could obtain a divorce. 

Bess. You might put it in writing. 

John. What ? 

Bess. Say that you would never expect nor require me to 
live with you. 

John [suspiciously). Is this on the level? 

Bess. It certainly is. 

John. By Jove ! I'll do it ! 

(^Writes and haiids paper to Bess.) 

Bess, (readifig). '' I, John Fielding, being in full possession 
of all my senses, do hereby agree that after my marriage to 
Miss Bessie Smith, I shall neither ask nor require her to live 
with me." Signed. ''John Fielding." {Spoken.) Good! 
It's a bargain ! There's my hand ! {Shakes hands ivith John. 
Speaks in natural voice.) Now that there is no further neces- 
sity for subterfuge, I may as well remove these togs. 

{Removes bonnet and shawl, and brushes black from teeth.) 

John {astonished). Great Jehoshaphat ! 'Tis she ! {Re- 
moves wig and beard. Speaks in natural voice.) Look ! 
Don't you know me? 

Bess, {astonished). How dare you masquerade in tliat 
manner? {In her exciteme?it drops the agreement.) 

John {hastily picking up the agreement). Why— I 

Bess. Give me that pj^er, please ! 

John. Oh, no. I've changed my mind. 

{Tears up paper.) 
Bess. I think you are just hateful, and I'm never going to 



10 BREAKING THE ENGAGEMENT 

speak to you again ; so there's no use of your coming into the 
lobby after me, because I'll be in the bay-window at the far end 
of the conservatory. So there, now ! 

[Exit hastily, door r. c. 

John (7vavi?ig his arms). Hurray! She's going to be 

mine ! Hurray ! Hurray ! [^Exit after Bess. 



QUICK CURTAIN 



New Plays 
ONE OF THE EIGHT 

A College Comedy in Four Acts 

By Norman Lee Swartout 

Ten males, four females. Costumes modern ; scenery, two easy in- 
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Price y 2^ cents 

CHARACTERS 

Hen.iy Brooks. *' Mollie" Runskool, a freshman, 

Mr. Brooks, his father. Bill Carter. 

Lord Chillingworth. Professor Dixon. 

Peter, his valet. Mrs. Brooks, Henry* s mother, 

Guy Marks, I. D, Helen Baldwin, 

Caleb Weston, Bab. 

Ned Andrews. Amy, the Professor's daughter, 

SYNOPSIS OF SCENES 

Act I. — Parlor in Henry's home at Redville, on New Year** 
night. 

Act II. — Curiosity room in Delta Sigma Fraternity House. A 
morning in June. 

Act III. — Same as Act II. Afternoon. 

Act IV. — Same as Act II. Evening. 



THE POETS' CLUB 

By M, N. Beebe 

Eleven male characters. One act. Scenery unimportant ; costumes 
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CHARACTERS 

Mr. Bob Grey. 

Mrs. Bob Grey. 

Tom Carter, Mrs. Grey's brother, 

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Mr. Peter Wycombe, a *^ pessimist " with a digestion, 

Dorothy Landon, secretly engaged to Tom Carter, 

Mr. James Landon, Sr., Dorothy' s father ; of a peppery disposition^ 

Uncle Tom, an old colored butler from the South. 

Officer Hog an, of the Twenty-Second Street Police Station, 

EETHER OR EYTHER 

A Farce in One Act 

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THE MORNING AFTER THE PLAY 

A Comedy in One Act 

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New Plays 



THE VILLAGE SCHOOL MA^AM 

A Play in Three Acts 

By Arthur Lewis Tubbs 

Author of " Valley Farvi,'' " Willowdale,'' ''The Country Minister,'^ 
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CHARACTERS 

Richard Elliot, storekeeper and postmaster, 

James B. Graham, a commercial traveller. 

Rev. Mr. Flick, the village parson. 

Hosea Clegg, who belongs to the G. A. R, 

Sam Alcott, who has a more than better half. 

Tad, just a boy. 

Sylvia Lennox, the village school-ma'am. 

Ida May Alcott, who has had advantages. 

Mrs. Alcott, her proud mavuna — somewhat forgetful, 

Elvira Pratt, a dressmaker. 

PosiE, who was born tired. 

SYNOPSIS 

Act I. — In front of the store and post-office on a morning in August. 

Act II. — Same as Act I, the middle of the same afternoon. If more 
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THE SUBSTANCE OF AMBITION 

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THE SISTERHOOD OF BRIDGET 

A Farce in Three Acts 

By Robert Elwin Ford 

Seven males, six females. Costumes modern ; scenery, easy interiors. 
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CHARACTERS 

Edward yi^^on, a wealthy stock- Mrs. y\.P\.%oiit socialist and aS' 

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Lord Curton, in search of a Eleanor Mason, her daugh-^ 

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Ward Leighton, lieutenant of Bridget, the cook, 

the lydth Regiment, Josie Riley, | , . , 

MikeMcShane, driver of a milk- Emma Hone, j "'^^^^^'^^^^* 

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JIMMY Macrae, page at Mr. Timothy Rouke, house painter. 

Mason'' s, William, butler at Mr. Mason's, 

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TAKING THE THIRD DEGREE 
IN THE GRANGE 

By A. C. Daniels 

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Price y i^ cents 



New Farces and Comedies 

■' — — ■ — I 

GADSBY'S GIRLS 

A Farce in Three Acts 

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CHARACTERS 

Richard Stanley, a lawyer, 

Joseph Parker, a clerk. 

Morris Young, a medical student. 

Steve, the farm boy. Friendly, but not loquacious, 

Mabel Vkkki-hs, frivolous and dressy ; engaged to Richard, 

Esther Carroll, botanical and birdy ; engaged to Joseph, 

Grace Q\AE?>TEKy just girl; engaged to Morris. 

Mrs. Dodge, who takes boarders. 

Maximilian Hunnewell Gadsby, a butterfly, 

THE GIRL WHO PAID THE BILLS 

A Comedy in One Act 

By Nina Rhoades 

Two males, four females. Costumes modern ; scene, an easy interior. 
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THE FIFTH COMMANDMENT 

A Play in One Act 

By Willis Steell 

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Price f I J cents 



New College Plays 



THE COLLEGE BALL 

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By Harry O. Osgood 

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CHARACTERS 

Tom Bradford ") <j. . Kitty Peters, his daughter. 

Dick Adams j * Frances Wing. 

Henry Carter "^ Eleanor Bradford, Tom*s aunt, 

Phil Patten > Juniors. Sally Prentiss. 

George Ropes J A Maid. 

Professor Peters. A Waiter. 

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A Baseball Comedy in Two Acts 

By Thacher Howland Guild 

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Price, 2^cetits 

CHARACTERS 
Dean Thomas, Dean of under- Phil Hodge, a senior. 

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Artie, his student office-boy. Eben Spaulding, Lan s uncle, 
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Price, /J cents. 



J 



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Costumes, modern ; scenery, all interiors PI- ys a full evening. 

THE PROFLIGATE ^^^y^^FourAc^-s ^even males, five females. 
Scenery, three interiors, rather elaborate ; 
costumes, modern. Plays a full evening. 

THE SCHOOLMISTRESS rarcem Three Acts. Nine males, seven 

females. Costumes, modern ; scenery, 
three interiors. Plays a full evening. 

THE SECOND MRS. TANQDERAY 1*17 -Four Acts. Eight 

^ males, five females. Cos- 

tumes, modern ; scenery, three interiors. Plays a full evening. 

SWEET LAYENDER ^°™®*^y ^^ ^^'^^^ ■^^^^- s®^®^ males, four 

females. Scene, a single interior ; costumes, 
modern. Plays a full evening. 

THE TIMES ^*^°^®^y ^^ ^^"^ •^*^*^- ^^^ males, seven females. 
Scene, a single interior; costumes, modern. Plays a 
full evening. 

THE WEAKER SEX ^''^^^^y ^^ Three Acts. Eight males, eight 
females. Costiimes, modern ; scenery, two 
interiors. Plays a full evening. 

A WIFE WITBODT A SMILE ^r^^ ^.^'^f ^^;\ ^''^ 

males, four females. Costumes. 
modern ; scene, a single interior. Plays a full evening. 



Sent prepaid on receipt of price by 
No. 5 Hamilton Place, Boston, Massachusetts 



'V^^V • nHnf.'.m.l!.^,?^ °^ CONGRESS 

018 407 304 3 



C!)e William W^xxtn etittton 
of Paps 

^rite, 15 €cntj6f €atl) 



A^ Yftll I I¥F IT Comedy in Five Acts. Thirteen males, four 
AD IvU MIVC II females. Costumes, picturesque ; scenery, va- 
ried. Plays a full evening. 

r A MIT IF Drama in Five Acts. Nine males, five females. Cos- 
vAlTllLdvC tumes, modern ; scenery, varied. Plays a full evening. 

INflOMAV P^3,y in Five Acts. Thirteen males, three females. 
■lllUUlTlAlX Scenery varied ; costumes, Greek. Plays a full evening. 

IWAPY STUART Tragedy in Five Acts. Thirteen males, four fe- 
ITlAlyl JIUAni males, and supernumeraries. Costumes, of the 
period ; scenery, varied and elaborate. Plays a full evening. 

TBE MERCHANT OF VENICE .^aTetfCer^^lSl: t^Z^l 

picturesque ; scenery varied. Plays a full evening. 

PirHFI IFII -P^^y ^^ Five Acts. Fifteen males, two females. Scen- 
EVlvllCLfllvl^ ery elaborate ; costumes of the period. Plays a full 

evening. 

THF RIVAI S Comedy in Five Acts. Nine males, five females. 
1 lie HI T AUiJ Scenery varied ; costumes of the period. Plays a 
J all evening. 

SllC MUUlJ lU LUMQlJbK males, four females. Scenery va 
ried ; costumes of the period. Plays a full evening. 

TWELFTH NIGHT; OR, WHAT YOU WILL l.X'AZ.Se?. 

three females. Costumes, picturesque ; scenery, varied. Plays a 
full evening. 



Sent prepaid on receipt of price by 

Salter i^. 'Bafecr & Company 

No. 5 Hamilton Place, Boston, Massachusetts 



